There's an almost childlike air of joy burbling through Rossini's music, well played by the orchestra under Joel Revzen's direction, and the fanciful staging devised by Buchman. He and the Philharmonic have made this an opera at which watching is just as enjoyable as listening.

When the Phil began producing opera in 2009, the orchestra's leadership said its productions would focus on the music. The musicians played on stage. Costuming, props and set design were kept to a minimum.

But jump ahead a few years, as the productions have grown more elaborate, and this "Barber of Seville" is just a bit of plaster and wood away from traditional opera. The orchestra is back in the pit — although at a raised level so the musicians can be seen during the performance. Gorgeous costumes, in a riot of color, stripes and patterns, are obtained from Costume World Theatrical in Deerfield Beach.

Door frames, couches, chairs — even a balcony — litter the stage. Clever decorative pieces descend from above. And, true, there's no gleaming faux marble backdrop or imposing pillars for this fantasy world, as in a traditional set — but there's something better.

Lisa Buck's graphic-design backdrop projections do more than fix the story's place; they set the mood. A delicate pattern is reminiscent of the decorative work on a wrought iron fence, the sort that might adorn a Mediterranean balcony. But when the villain enters, the projection's colors darken to match the tone.

A final but by no means insignificant piece to the opera series' steady progress is the growing strength of the chorus, directed by Robin Stamper. On opening night, the all-male chorus for "Barber" sounded especially rich on their entrance number.

The principal singers were also in fine form, bringing a sprightliness in their voices. Julie Boulianne imbued her Rosina with a headstrong confidence that matched the modern English supertitles — "Oh, crap!" she thinks at one point.

As buffoonish villains Bartolo and Basilio, Matthew Burns and Stephen Morscheck let the fun in their roles be heard in their voices. Norman Shankle, as the heroic count, had a pure resonance in his upper range though his lower notes were often overpowered by the orchestra.

But this show belongs to Figaro, the barber, one of the most beloved characters in opera. In the role, Edward Parks has commanding stage presence, and his lusty baritone matched the glee on his expressive face as Figaro schemes and dreams.

I shared Figaro's joy: In the Orlando Philharmonic's evolution as opera producer, "The Barber of Seville" is another successful step forward.

An Orlando Ballet collaboration, tributes to Elton John and Louis Armstrong, beloved Rossini opera "The Barber of Seville" and performances by Eatonville-boy-turned-Broadway-star Norm Lewis and pianist Jon Kimura Parker are among the highlights of the Orlando Philharmonic Orchestra's 2013-14...

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